TophethYiannis TheodoropoulosTopheth, Yiannis Theodoropoulos’s first book, is about the loneliness of objects, the memory of mosaic floors, the allure of bed sheets and of creases. It is also about the loss of love, the notion of sacrifice and (the process of) victimization, the search for a coherent subjectivity and the impossibility of this endeavour. The principal theme of Theodoropoulos’s images is the “end of tradition”, as the artist himself notes; not just the tradition of photography obviously, but the end of a sense of commitment―personal, social, as well as artistic. From this perspective, Topheth marks the end of submission to perpetuating complexes that cause a slew of guilt and blame.
Yiannis Theodoropoulos’s work encompasses Hölderlin’s insight in the poem Patmos (“But where there is danger, A rescuing element grows as well”) and Kafka’s response, so to speak, from The Blue Octavo Notebooks (“Hiding places there are innumerable, escape is only one, but possibilities of escape, again, are as many as hiding places”). The photographs included in Topheth are hiding places both for the artist himself and for the spectator who is ready to welcome them and grasp their peculiarity.Topheth is a window into the interior world of a photographer who could also be a sculptor and who would like to to be a comedian. The key to reading Theodoropoulos’s works is the schizophrenic coexistence of the solemn and the ridiculous, the sacred and the profane, the depth of ancient Greek heritage and the lack of depth that characterises modern Greek culture. His home, where most of his images originate, is a crypt in all meanings of the word. It is a secret space, a place of worship, the house of a martyr who is being wrongfully persecuted by his fellow humans. What we are dealing with here is not a neutral space; hence the interiors or the "landscapes" that result from chronicling this house are not historical documents.
Theodoropoulos seems to be well aware of the fact that objects are often more enigmatic than stories. Remembering T.S. Eliot’s famous verse from The Waste Land, he can show us fear in a handful of dust. Similarly, through photographing a pile of potatoes or a piece of Feta cheese, he reveals to us the transcendental serenity of a “still life” and the enigmatic silence of objects. In the plethora of medicines and homeopathic remedies he makes known to us his faithful “companions,” while in a plastic black urn he converses with his father for the last time and reflects on the beyond (epekeina).
In Topheth, artist Yiannis Theodoropoulos “strips himself bare.” The crypt opens up: his house in Magoufana ―what the area of Pefki was once called― now resembles a museum of personal memories and illusive-destroyed collective dreams.

Eleni Papanastasiou
Eleni Papanastasiou practices architecture, visual arts and research, holding a PhD. Her creative process is interdisciplinary, experimenting with nature, language, photography, and tactile structures, treating them as raw material for architecture and artwork. While dedicated to the realization of Architecture, she engages in Academic Research and Teaching, Scenography, Photography, Exhibition, Installations, and Cultural Analysis. Her practice is research based in quest of environments that combine clarity, aesthetic challenge and function, given the unique conditions of each project.

Website design by the studio

Athens 2018

South as a state of mind #10Maintenance
A magazine founded in Athens in 2012 with a desire to face the future amidst bleak prognoses brought on by economic crisis and crypto colonisation. During the course of its first five issues it became a gathering place for shared intensities, for placing sovereignties in relation, for a growing affective network. Between 2015 and 2017, it was reconfigured as the journal of documenta 14 for four issues. The results are forever part of our evolving history and we will remain welcoming to all the ideas, attitudes and the characters that sustained and transformed South, putting us in contact with many new readers and collective ways of learning.

If the word ‘maintenance’ at first strikes you as vaguely conservative or at odds with the productive or creative or sexy vocabularies put in the service of art and culture (which remain our preoccupations), the contributors of South as a State of Mind #10 open up this much-maligned method. They call out the abuse of life by the powers that be – in North and South America, in Northwestern and Southwestern Europe. They reconfigure our very sense of being together, drawing on cosmogonies indigenous to Africa, Mesoamerica, South Asia, the Amazon basin and beyond (as a state of mind, South has never been geographically or otherwise limited). These twenty authors offer rich and expansive historical perspectives, cultural nuances and prognoses for the insurgencies of spirit – reframing our material conditions on the ground, so we can maintain our multiple, micropolitical, mindful sovereignties.

Edited by Marina Fokidis (Editor in Chief and Founding Director) and Monika Szewczyk (Guest Editor)
Re-designed by Studio Lialios Vazoura, and published by Cube Art Editions Athens, with key support of the Goethe Institute as well as the financial aid of Schwarz Foundation

A Pagan FeastNikos Kachrimanis
“One Friday morning we packed our luggage for a three day trip and boarded the train from Athens to Thessaloniki. We would go visit two friends of ours who had recently moved there, following the general trend, so characteristic of our times, of movement from any place to any place. Radical changes are implemented when conditions become unbearable in one way or another, something that happens lately too easily in various ways and various magnitudes.
Within this frame, our friends had decided last year to negate all structures they had developed over the years, and venture towards an unknown and more basic form of living. They would get involved in agriculture; they would exchange city life and Academia with the task of developing a self-sustainable agricultural environment within the principles of permaculture. With the growth of their trees and plants, they would reclaim the lost Meaning.
When we arrived at Thessaloniki, we decided to visit together the piece of land that would be the field of their dream. It was winter, the perfect season to plant cherry trees and pear trees and with this task at hand, we started driving up the mountains. We knew that the field was partially forest, home to boars, along with their accompanying hunters. The planting would take place in a clearing. Fog had set down upon our arrival and we walked through the forest, with our shovels and the young trees in hand. In the clearing, we dug large holes on the ground and planted all the trees. I was taking pictures of our small pagan feast.
I saw these photos after we returned to civilization and realized it was not a feast I had captured. A record of clues from a crime scene would be a more appropriate description, where something already dead or killed on the spot was buried. Our previous ways, our outdated aspirations, our trust on things. We were told later that our trees were uprooted by the boars, which like eating young roots; nevertheless, our friends would replant them.”

A book of 48 pages about a pagan story designed and edited by the studio
Text by Nikos Kachrimanis

Published by Cube Art Editions
ISBN: 978-618-5204-04-4

Athens 2018

Modelling PhenomenaChristos TzivelosModelling Phenomena is the first book/monograph for the visual artist Christos Tzivelos (1949-1995). This book highlights the full breadth and complexity of Tzivelos’s career, one of the most radical and distinctive greek artists of the ‘80s and ‘90s. Including exhibition image archives since 1977 - 1995, unknown work, early work and his studies-references, this volume salutes on an assiduous research on the artists working path, implying his social ideals and values as a visual artist and as a person.

Tripoli CancelledNaeem Mohaiemen
A pilot is trapped in a crumbling, abandoned airport. Naeem Mohaiemen’s first fiction film is based on when his father was stranded without a passport in Athens’ Ellinikon International Airport for nine days in 1977. Presented at Documenta 14 in Athens.

A Hand's TurnLenio KakleaA Hand’s Turn by Lenio Kaklea is a performance for one or two visitors. In the form of a 25 minutes private session, Lenio Kaklea investigates the functional, political and symbolic dimensions of the binary opposition left/right and examines the tensions between face and mask, body and face.
The publication accompanies the performance.

Laboratory of Dilemmas is a narrative video installation based on Aeschylus’ theatre play Iketides (Suppliant Women), which poses a dilemma between saving the Foreigner and maintaining the safety of the Native. Addressing current global sociopolitical issues, the work deals with the anguish, puzzlement, and confusion of individuals and social groups when called upon to address similar dilemmas. Aeschylus’ Iketides (Suppliant Women) is the first literary text in history that raises the issue of a persecuted group of people seeking for asylum. The Suppliants have left Egypt to avoid having to marry their first cousins and arrive at Argos seeking asylum from the King of the city. The King is then faced with a dilemma. If he helps the foreign women, he risks causing turmoil among his people and going to war with the Egyptians, who are after the Suppliants. But if he doesn’t help them, he will break the sacred laws of Hospitality and violate the principles of Law and Humanism, leaving the Suppliants to the mercy of their pursuers.

Laboratory of Dilemmas focuses on the play’s dilemma through the excerpts of an unfinished documentary in the form of found footage about a scientific experiment. This experiment was never completed for unknown reasons, however the found excerpts of the unfinished documentary reveal today, after so many years, details of the experiment, as well as the hopes of the professor who envisioned it and the disagreements with his co-researchers. The story is presented piecemeal through multiple video and sound sources inside a Labyrinth. The acclaimed actress Charlotte Rampling has a leading role in the videos of Laboratory of Dilemmas, along with other well-known Greek actors such as Yorgos Kotanidis, Lazaros Georgakopoulos, Kora Karvouni, Polydoros Vogiatzis, Rena Kyprioti, Panis Kalofolias. An immersive video installation that addresses contemporary sociopolitical issues and offers a peripatetic audiovisual experience that may create various different dilemmas to every visitor.

What Remains Is FutureDavid Bergé
The book What Remains Is Future is a continuation of the installation by artist David Bergé responding to the archive choreographer Marc Vanrunxt has been developing since 1981.

Athens Independents Art Index
Athens Independents Art Index is an initiative that highlights and maps independent project spaces and platforms throughout the city. Since the crisis, these spaces have been important motors driving contemporary art in Athens. Independent art initiatives in Athens gathered together to create a network of contemporary art organizations that represent a cross-section of the creative forces in Athens that are flourishing, reflecting and thinking about the city and providing an interface between the Greek cultural community and the international scene. Ranging from non-profit and artist-run spaces, to residencies, community networks and curatorial projects, these independent initiatives offer broad insight into contemporary artistic production in Athens today.

Supported by the Schwarz Foundation.

Athens, 2017.

Empty DaysDiary 2017Christos Lialios and Katerina VazouraEmpty Days is a diary liberated from the marks of language. A sequence of empty pages, composed of twelve different papers, corresponds to the calendar year. The intention is to offer spatial freedom in your dealings with time. Opening into emptiness, this book can be filled as you wish. Anytime.

Published by Cube Art Editions, Athens and documenta und Museum Fridericianum gGmbH, Kassel, on the occasion of documenta 14:
Athens, April 8 — July 16, 2017
Kassel, June 10 — September 17, 2017

The Tough and the Cute DancerEsthir LemiThe quest is to document in an artist-book a work-in-project that combines image and text. This book describes how a visual artist and composer who spends her free time in dance schools and keeps record of the dancers’ movements keeps reprocessing the same material again and again as technology advances. She learns how to write as she collects and combines ‘writing exercises’ (ètudes), switching between arts, in the same way as one who is led to explain something while ‘lost in translation’ among every possible expression or memory, and ultimately succeeds in developing definitions. Esthir Lemi

Edited by Christopher Marinos
Bilingual edition (english-greek) in an edition of 300 copies
Published by Cube Art Editions

ISBN: 978-618-81511-7-8.

Helsinki, 2016.

At SeaMarian Wijnvoord
This is a book of 15 different paintings of the sea. These works are about leaving, turning your back on your homeland with a longing for overseas. Being 'at sea' is a bit like making a painting: you are not sure if and where you will arrive. The subject and the handling of the paint in these works is within the tradition of Dutch seascapes of the 1600s.

Published by Cube Art Editions

Athens, 2016.

Three Papaconstantinou — Theodore, Litsa and LedaLeda Papaconstantinou
Τhe work itself is a large scale installation, which will be completed in situ by the artist. Made up of fragments of her parents’ lives and artefacts, the installation is a unique historical testimony of a family’s life course through the tumultuous 20th century. Works large and small, wood carvings, tools, memorabilia, paintings, small-scale sculptures, artefacts and fragments of the lives of Theodore and Litsa Papaconstantinou will be interwoven into a vast and unique mosaic of lives transformed by the ebbs and flows of Greek history.
Living and crafting on the island of Spetses from 1966 for almost half a century, Theodore and Litsa Papaconstantinou exchanged one life for another in the wake of the Greek Civil War. They successfully turned the impasses of the era into an opportunity for renewal which they imbued with their inimitable spirit.
The artist has this to say of them: “Two wars in a row, World War II and the Civil War, had practically wiped out the life they had known and their plans. They had to build a new life in its place. And so they did, and managed through hard work, persistence and intelligence to live ultimately with joy. The years of peace were sustained by creativity.”
Leda Papaconstantinou interweaves her own works—old and new—into this large canvas, building a personal narrative out of three lives, shedding light on the relationships, forces and influences that ultimately shaped her too. With this show, a daughter honours the life, work and memory of her parents, who lived with wit, grace and inspiration and succeeded in finally turning their own lives into art.

Curated by Florica P. Kyriacopoulos
Catalogue designed as a folder by the studio and pubished by Cube Art Editions

Nafplio, 2016.

Iris, Alexandra, Mariela, Katerina et moiLenio KakleaIn March 2015, Matthieu Banvillet, director of Le Quartz, Brest’s National Scene, invited me to curate a focus on Athens.
It was the first time I received such an invitation. Puzzled at first, I thought of it as a great opportunity for me to decipher my multiple identities. I come from a Mediterranean country that struggles financially while being Europe’s eastern and southern border. I’m a woman that sometimes has to deal with sexist work environments. For the past ten years I have been living in a foreign country, France.
Soon enough, I started conducting research on the dynamics of the artistic scene in Athens, the one I had left behind back in 2005. Today the country’s political situation has radically changed and so is my relation to it. As my research was progressing, what proved to be decisive in my choices was the type of relationship one builds with their community. When I left Greece, I was carrying an idealized image of a dancer being part of a dance company, but soon enough realized that this condition was becoming obsolete and had to adapt to a much more flexible, precarious and neoliberal work model. By and large, this model of individualization predominates in the current European contemporary dance scene and the dance that is being produced in Athens didn’t seem to be an exception. At least for the most part.
In response to the financial crisis of 2008, a number of artists began to occupy abandoned spaces in downtown Athens in order to work collectively. Collective choreography, Untitled Series, a project initiated by Mariela Nestora is the result of such experimentations. In order to think about communities today I needed to consider peripheral modes of production and fresh ways of exchanging ideas within the broad field of contemporary dance, an art on the edge.
For Iris, Alexandra, Mariela, Katerina et moi I didn’t choose works that bear a formal resemblance, but ones that helped me outline different modes of community making. While Iris Karayan develops a formal approach to movement, arranging a group of dancers on stage, Alexandra Bachzetsis investigates numerous androgynous bodies in perpetual transformation. Katerina Andreou’s work in progress deals with different types of autonomy, she also chose to study and develop her work in France and I found in her story bits and pieces of my own journey.
Interested as I was in the choreographic work of women, putting together this program allowed me to explore new ways out of a system that pushes artistic practice to respond to specific institutional demands. Furthermore, I needed to move away from curatorial strategies that I consider alienating such as showcasing “new emerging artists” while feeding a star system that excludes others. Instead, I thought of this focus on Athens as a milestone in the work of the invited choreographers and a step towards starting a dialogue, first amongst us, then with the public.
Just as importantly, curating this program allowed me to think about different ways of performing subjectivity. I slowly realized that I wasn’t making choices according to objective criteria such as the historic or market value of an artwork, the same way an institution usually does. Instead, I thought of how the selection process would define and transform me. The outcome is the reflection of a fragmented, transitional and bastard identity, such as my own, and I invite the public to associate themselves to this breakable and ever-changing identity in motion.

OmonoiaAthens Biennale 2015 – 2017
The Athens Biennale, constantly intuitive towards the institution of biennales, revises its identity by extending its duration to two years. Bridging the past to the present and the future, the fifth edition of the Biennale (2015) merges with the sixth (2017). The Athens Biennale 2015 - 2017, a daring and experimental endeavor launches its activities in June 2015 and peaks in June 2017.
In view of the critical historical juncture, the Athens Biennale 2015 - 2017 focuses on burning issues such as the emergence of alternative economies, the performative in the political and the establishment of institutions that redefine the systems structures and its pre-existing models, while highlighting the current views of contemporary art.
The Athens Biennale 2015 – 2017 arises as a reaction to the current political and social conditions and a need to activate the public through art and contemporary theoretical viewpoints.
«Omonoia» launches a two-year period of activities that will run from June 2015 through the summer of 2017, in various venues across the Athens center, and, more specifically, at Omonoia square. The aim of this two-year period and the collaboration with the Municipality of Athens is the discovery of a permanent location for the organization’s parternships, from which point the activities of Athens Biennale 2015 – 2017 will take place. The creation of a cultural centre in a period of crisis and cultural reconstruction led the Athens Biennale 2015 - 2017 to Omonoia square and the selection of the former hotel Bageion as the symbolic starting point for the unfolding of the artistic program.

The h-chairStudio Lialios Vazoura
An idea of shaping the letter ‘h’ of the latin alphabet into a piece of furniture, creating a modular display device used as a chair, shelf and table.
Concept, design by Studio Lialios Vazoura.

I/E ElefsisTarek Atoui in collaboration with Chris Watson and Alexandre Guirkinger
Tarek Atoui was invited by locus athens to create a new work for Elefsina as part of the Aisxylia Festival 2015. Elefsina, site of the Ancient Eleusinian mysteries, is a post-industrial city steeped in myth on the outskirts of Athens. Atoui will present I/E Elefsis, based on his in situ investigation of the sonic landscape of Elefsina and his collective instrument I/E. Atoui invited the field recordist Chris Watson to collect the sounds of the ancient site, the port and the derelict oil factory that is now the exhibition site of the festival. These collected sounds form the basis for a new narrative of the city: a new musical composition by Tarek Atoui inspired by ‘musique concrete’ and three performances by Greek and international musicians. The improvisational dialogue between the musicians and Elefsina’s unmediated sounds will punctuate the exhibition’s timeline and reactivate the space.

Atoui also invited the photographer Alexandre Guirkinger to document the sound recording process. This documentation, the recordings and the composition will be accessible to the public in I/E, a sound-proof shipping container that is a collective instrument devised by Atoui. In Elefsina I/E will function as an information center for the exhibition, as a point of reference, as a listening station and as a performance platform.

Tarek Atoui is a prominent sound artist and composer. At the core of his work is an ongoing reflection about the notion of the instrument and on the act of performance as a complex and open process. Chris Watson is a key figure in field recording and founder of the Sheffield group Cabaret Voltaire. Alexandre Guirkinger is a photographer who works with different format analogue cameras. locus athens is an independent nomadic arts organization run by Maria-Thalia Carras and Olga Hatzidaki whose program evolves around the public sphere of Athens and the production of new works.Ιn parallel with I/E Elefsis two educational workshops will take place; one run by Chris Watson, supported and organized by Onassis Cultural Center and a community workshop with young local volunteers, supported by EUNIC (European Union National Institutes for Culture) and organized in the context of the Arts for Social Development program.

I/E Elefsis was produced by Chantal Crousel Gallery.

Elefsina, 2015.

Sitting Setting h
This exhibition "Sitting, Setting h" illustrates and examines the development and the idea of shaping the letter "h" of the latin alphabet, into a piece of furniture, creating a modular display device for the publications designed by the studio, over the last twelve years. Posters, printings and related matters, transform and reconnect for the exhibition space as an aspect of the studio's offprint.
This research allows us to take a critical view at a series of topics such as the relationship between presentation and representation, procces and outcome, introducing a social issue.

Diaries are an ongoing project that Christos Lialios has been doing since 2010. This year a common wall diary is photographed to create a new one. Each month it is placed in a different setting to focus on the recurrence of time through its movement in space. One movement, one day, one page.

140x190 mm / 416 pages

Athens, 2014.

Green Tea in a Mauve MoodPaul Rondags
A book that brings together for the very first time a selection of photographs taken from the artist Paul Rondags. It focuses primarily on his beautiful series of over 300 photographs "Green Tea in a Mauve Mood" produced since 2010. The pictures he makes are isolation's, observations of everyday life. Elements of aesthetics, mood, tone, are framed in memories and encounters of everyday life. In this way the pictures are also about him. There narrative aspects are loose, inconclusive, made by intuition rather than concept. He is looking to the point where the image is stripped from 'the spectacular', but have enough presence and expressiveness of their own.

Text by Gina Vodegel on a folder which is exploring the idea of being a photo storage device in a book format. Design by Studio Lialios Vazoura.

Same but DifferentChristos Lialios
"Same but different", is a book of flowers close to the anthology field. This project comprises of two intersecting stories — a selection of flowers from instant Polaroid pictures in dark places and a selection of flowers from instant Polaroid pictures, yet revealing themselves through the drawings.

In his youth he was a fisherman, seal and musk hunter, while later he became an engineer. But most of all he was an adventurer and a photographer. The descriptions are from the Norwegian Coast, Greenland and mainly from the West Ice. He treasured his experiences in the Arctic sea fully and to its limits.The last record in the book, "Loss", is a novel built upon his adventures at the West Ice. He took the photographs, during his trips, with his Leica-camera. In the book are some graphic reports, at the end of his life, with a reduced capacity to write with a pen, but still with the Arctic sea in him.

Works that are on the verge of two worlds in action. Against the all-embracing vulgarity, we become magicians, hoping to approach reality from a different angle. We find refuge in alchemies; we create an imaginary world by changing and transforming the familiar. This series of works were made using pencils, watercolors and threads, on handmade paper. They were created with attention to detail, which mirrors our fragile and uncertain existence posing questions about our passage through space and time.
Once an image is conceived and registered, we try, over and over again, with japanese-like persistence, to decode it. It may then be that we have touched upon something. Thoughts, one may call them feather-like, are born from random notes and slowly, gradually, they turn into a statement. Our world is made of fleeting images. Some deal with the handling of loss, the removal of its load. Others, magical, marvelous ones to be kept close at hand for a journey that is frequently rough, its destination unknown. Suitcases. Our luggage, as an archetypal carrier, is loaded with their history, with our history.

Silk screen cover in an editions of 500 copies.
Design by Katerina Vazoura and Christos Lialios.
Published by Cube Art Editions.

Athens, 2013.

Been Here BeforeDiary 2014Christos Lialios
A diary for 2014, designed by Christos Lialios in collaboration with Katerina Vazoura, published by Cube Art Editions. This diary mostly consists of three used diaries of previous years — all designed by Christos Lialios: Same Day, Same Time, Different Moon (2010), Halfway to the Square (2012) and From Athens With Love (2013) — that were rescanned, knocking out any personal information with a white square.

192 pages with a set of eleven vintage wrapping pappers. Silkscreen cover in an edition of 350.
ISBN: 978-618-80384-8-6.

A Cavernous DefilePart I from the series Freud on HolidayVolume IVSharon KivlandKivland invites us to go on Holiday, with Freud: up mountains, we walk; through streets, along the lake. We pick mushrooms. We go on adventures. Sometimes, we lose our way home. We digress. Interweaving meticulous historical research, Kivland's own retracing of Freud's steps and her personal memories, this is a creative reimagining not just of Freud on Holiday, but of the nature of biography itself. Poignant, evocative, passionatethis is a dream of a book. – Steve Pile, The Open University, UK

Sharon Kivland is an artist and writer. In a series of books and related works she has followed Sigmund Freud on holiday. The last book "A Cavernous Defile" with Lucia Farinati has been published by Cube Art Editions, and therein are a number of walks, an excursion in the mountains, mushrooms, and two Lucias, alive and dead.

Design by the Studio Lialios Vazoura (Christos Lialios and Katerina Vazoura) in an edition of 400 copies.
Printed by Fotolio & Typicon and bound by Androvic Bros.

The idea of this poster presents a part from the raw material of the new diary, which is based on recycling three used diaries of previous years, all designed by Christos Lialios: Same Day, Same Time, Different Moon (2010), Halfway to the Square (2012) and From Athens With Love (2013).

Athens, 2013.

Le Chant du RossignolAthina IoannouI have always been interested in the language of the image, moved by this work, the presence of which can raise certain questions. More than exhibiting an artwork, I prefer to observe, to act, to intervene in such a way that the result is truly something minimal but of the utmost dynamism; and by utmost dynamism I mean the utmost opportunity for one to be able to be present. You are exhibited opposite him (the viewer) who must discover this place, by giving a sign, working in a space that is truly emphatic. Thus, as one musical note follows another, the eye is directed slowly, slowly there, to where there is a small marvel of a something, which is not seen outwardly and which is to reveal itself. In this sense, I believe that the 'given' exhibition space could be very interesting when viewed critically. After that, it should be necessary to discover other possibilities as well, where something could change ever so slightly, where it may still even be almost impossible to exhibit. The truth is that what I desire is not answers, rather the opposite, namely, to generate questions through presentation. I like to work in a way that is direct, transparent, seemingly simple, almost letting things reveal themselves, that's what interests me most. Furthermore, history concerns me deeply (in relation to its making a statement on current reality), that particular kind of human record, of this (via art) continuum: To make so as to be able to see, that is, to be able to take the risk of beginning something without knowing how it will turn out in its final form.

Complete with an essay of Denys Zacharopoulos, this publication presents the work of the artist Athina Ioannou. Born in Athens, lives and works in Düsseldorf . 152 pages, 165 x 235mm, soft cover with flaps, offset and silkscreen printing.

Den (Not)Maria KontiDen (Not) is about visual stories that are presented in the form of a book, relating to the idea of escapism, in a literal or fantastic flight. Three persons realise the escapes in the book. First is the writer/artist herself using an art proposal for an unfeasable journey/artwork in the north of Europe. As for the other two persons, the magician Harry Houdini and the Douccess of Plakentia – who appears in the book with her actual name, Sophie de Marbois Lebrun – Konti searched and assembled biographies, photographs and in site research material that she finally assembled in fiction.

7 Archaeologists: From Standing to Bending PositionVangelis Vlahos
Vangelis Vlahos' poster 7 archaeologists from standing to bending position consists of 8 photo images of archaeologists who have worked in Greece over the last sixty years. The artist discovered the pictures in the archives of various Foreign Archaeological Schools operating in Greece as private cultural institutions. Vlahos focuses on images whose chronology places them within the bounds of Modern Greek history and depict archaeologists at work, studying, measuring, examining, and surveying the progress of work on the excavations carried out in Greece.

This poster is a part of the work Foreign archaeologists from standing to bending position commissioned by a gathering project.

Design by Christos Lialios and Vangelis Vlahos.

Athens, 2012.

From Athens With LoveDiary 2013Christos Lialios
Twelve months for twelve typefaces - lettering - fonts the studio designed during the last 12 years since 2000. The idea behind this diary turning to an agenda is to organise time and days through various styles and forms of letters. Every font makes a monthly section. A page for every day and a red bookmark ribbon.

The Hotel Xenia in Andros 2001–2012 [an archive opens]Lizzie Calligas
Lizzie Calligas opens an archive of images that she has been collecting for more than a decade. The project At the Xenia Hotel in Andros, 2001-2012 [an archive opens] aspires to more than being purely an exhibition. By intent, it is comprised of only part of the archival material collected by Lizzie Calligas who, from 2001 to 2012, kept a record of the condition and the damage suffered by the Hotel Triton (Xenia Andros) of Aris Konstantinidis.
Calligas lays emphasis on the power and ability of photography to create history, exactly because of what it documents. Evidently, a photograph is a transitional impression of reality which, in any case, can never be only one. Here however, Calligas does not simply collect photographic material but brings added significance to the original material by creating an archive of images. Moving beyond the art of recording history, evidence and memories, she acts as mediator between the past and present with an archive that documents but also interprets, suggesting new stories through the artistic experience. By reenergizing the past in photographic and archival form, she speaks not only for that past but also makes a statement on how alive and open it can be to reading, interpretation and even application.
Also explored, is the extent to which contemporary art works and projects that employ history, documented evidence, photographs and archives as means to creatively approach the past and rethink the present, can, through their accessibility to the public, function also as gateways to collaboration and social interaction.

Archive PublicPerforming Archives in Public Art. Topical InterpositionsPanos Kouros and Elpida Karaba
Within the flexible limits of archival art today, Archive Public practices archival art as intervention in public space, questioning the dominant hegemony and allowing for possibilities of solidarity actions. The book includes theoretical hypotheses on archival practice in contemporary art, art works that were specifically created for the project, as well as an anthology of essays by contemporary thinkers who elaborate on particular issues of the archive in relation to the public sphere and theories of democracy, the notions of institution and instituting practice, interventions in the shifting urban condition, the philosophy and archaeology of media as well as the global flows of migration and media. Interventions focus on the urban and social condition of Patras, as it is influenced by a translocal dynamics which produces interrelations with other localities.

Design. Piece of CakeA Workshop
This workshop took place in Athens. It was attended by 46 students from the third year class of graphic design of Vakalo art and design college.January 2013.

Thanks to everyone who took part!

Athens, 2012.

LightwellDimitris Skalkotos
Dimitris Skalkotos, accomplished marble sculptor from the island of Tinos, creates a poem through space, displaying a string of evocative words carved in marble throughout the lower floor of the gallery. The concepts of Light, Eternal, Memory, Woman, Limit, Source, Alone, Sound, Departed, Consistency, Sunset have been selected from a set of poems by psycho-analyst Grigoris Maniadakis titled ‘Fotagogos’. Together, the words as a sequence form a story whereas their individual shapes stress the deeper meaning of each one of them. The marble interpretations are placed on wooden makeshift pedestals as if the visitor were to walk into the studio of the artist during the hours of labour.

Design based on an idea of file note. Every card contain images of works, images during the process and the poems. This kind of file note is used to record all the details of work during the exhibition.

Halfway to the SquareDiary 2012Christos Lialios
A diary based on a triangle pattern system. Pocket size. A day per page. Black and white through all months except August which is coloured as the holiday month. The diary runs from 1st January 2012 to the 31st December 2012 and features a black ribbon page marker and space for personal notes.
Edition of 500 copies. Published by Cube Art Editions.

Athens, 2011.

Krazy Kut. A Case Without A BodyLoukia AlavanouLoukia Alavanou links her work to the cinematic practice where illusion becomes more real than the reality behind it. In her videos she mixes scenes from early 20th century horror movies with classical cartoons underlining them with black humour and a distracting sound. Loukia Alvanou uses well-known and secondary elements from film, digitally reanimating the found footage so that the scenes become a humorous and distracting video loop.

This exhibition catalogue accompanied Alavanou’s exhibition at Elefsina Cultural Centre - L.Kanellopoulos in the fall of 2011. Designed by Christos Lialios with texts by Darian Leader and Antonios Bogadakis.

Still LifeIoanna RalliI suppose that in some way, every artist talks about himself. Cotan and Zurbaran, two Spanish monks, reveal the monastic life, the inner life and its way of seeing the world. Fede Galizia in Italy, is moved by bowls of fruit and paints them as she sees them. The Dutch proudly say, “look how rich we have become!” through their depiction of tables of abundance. Chardin soundlessly enters the home and paints the everyday life of women, children and objects. Cézanne paints apples and talks about the visual perception of the entire world. Matisse is aroused by fabrics and colours. Morandi meditates on a few simple bottles and creates a world that contains existence.

I feel and understand (or at least I think I do) the emotions they experienced when creating these paintings. Perhaps this is why I prefer the term still life used in English rather than Nature morte in French and Νεκρή Φύση in Greek. One talks about life the other about death. And each time Amor releases Psyche and a body of work is finished, it hurts.

Catalogue design according to the new work of the artist Ioanna Ralli held at Zoumboulakis Galleries in the fall of 2011.
Hard cover, 100 pages with 46 coloured photographs.
Text by Eleni Kypraiou and Ioanna Ralli.

The Forgetting of A Proper NameVolume III in the series Freud on HolidaySharon Kivland
The third volume in the series Freud on Holiday describes a number of holiday choices; the problem of deciding where to go and when; plus the matters of cost, convenience, appropriate companionship and correct context. There are descriptions of train itineraries, hotel rooms and restaurant menus, even though the name of one restaurant resists recall for most of the book. There is a surprising connection with hysteria and another name is forgotten en route, accompanied by an embarrassing error in chronology. At last, forgotten names are remembered, although an image that has been talked away is not seen again.

DESTE Prize 2011DESTE Fountation
The DESTE Prize was established in 1999 as part of the Foundation’s policy of supporting and promoting contemporary art in Greece and is awarded every two years to a Greek artist living in Greece or abroad. For the second time, the DESTE Foundation will collaborate with the Museum of Cycladic Art that is to host the exhibition of works by the six shortlisted artists for the DESTE Prize 2011. This collaboration is part of an initiative taken by the Museum of Cycladic Art, whose project “Young Views” aims at launching dialogue with a younger generation, at keeping the public up to date on contemporary art production and at ensuring the dynamic presence of a space for the exchange of ideas.

Workshop on Looping. A Book for Children13th Nursery School of Athens
The second workshop on Looping. A Book for Children took place at the 13th Nursery School of Athens with a class of twenty six children of six, years old. No instructions were given. It has been made possible through the support of the following teachers: Dionysis Paraschis, Fani Mavromichalis, Katherine Farmakis and Eleni Bokolas.

DESTE Prize 2011Museum of Cycladic Art, Athens
The DESTE Prize was established in 1999, as part of the Foundation’s policy of supporting and promoting the work of the emerging generation of contemporary Greek artists. The DESTE Prize takes place every two years. A six-member Selection Committee comprising of Greek curators, critics, collectors and artists nominate 36 candidates (up to 40 years of age). From these candidates, six artists are shortlisted for the DESTE Prize and participate in the DESTE Prize exhibition, which for the second time will take place at the Cycladic Museum of Art.

Published by Cube Art Editions in an edition of 500.
ISBN: 978-960-98318-9-5.

December, 2010.

Wall of Sorrow / Wall of JoyHilde AagaardWall of Sorrow / Wall of Joy, Aagaard’s permanent sculpture-installation is specially designed for the public recreation area and promenade on Lake Mjøsa. In fact, they are not walls, but open frames, set 2.7 meters apart, the same measurement as their height and width, creating an open cube. Their bright signal-red color, the color of passion, contrasts with the natural cool greens and blues and creates a focal point for visitors. The structures also function as benches, where passersby can rest, reflect, converse, mourn, rejoice and embrace. The open forms encompass the landscape, concentrating all these joys and sorrows while also allowing them to circulate freely in the environment.

Booklet designed according her new work.
Essay by Andrea Gilbert.
Photo byMarit Anna Evanger.

Same Day, Same Time, Different MoonDiary 2010Christos Lialios
A diary recycled from a fine pocket diary of 1954. It follows the same information, same dates, but different moon phases. Each page on the diary contains the corresponding one of the old diary. At the end, there is a special catalogue of International Days. The diary has a hardcover and a book-mark ribbon.

Between Facts and PoliticsVangelis Vlahos
Book-catalogue published on the occasion of the exhibition Betwwen Facts and Politics by Vangelis Vlahos held at the prometeogallery di Ida Pisani, Milan. With essays by Marco Scotini and Aristide Antonas.

EnneaMaria Konti
This book is the body of an eye witness: a vertical female body with clean lines running across it and a black cover. Her testimony comprises the following three elements: the title,Nine, which corresponds to the number of artworks created between 2005 and 2008; a selection of images from the visual archive compiled as a result of the research that accompanies each of the artworks, and, finally, the essays, arranged in chronological order. The source of this testimony is ambivalent, and perhaps so are its intentions. For it lies somewhere between literary experimentation, art theory and autobiographical narrative. As all forms of narrative testimony, it is unable to describe the experience of the "real" event, while vehemently aspiring to compel a reading; that is, a re-interpretation.

Published by Cube Art Editions.

Sea PastelsLizzie Calligas
Book-catalogue of seventeen images consist the corpus of Lizzie Calligas' new work which is being presented at the Hydra Museum of History and Archives from June 7 to July 12, 2008.

When faced with a library, an archive or simply any large databank, the artist must be clear about his/her purpose before starting the quest for the ultimate documentation or representation. Any enquiry into the nature, focus, and inspiration of research results in as many individual responses as there are respondents. Some artists follow self-imposed methods, others lean on far more emotional and intuitive processes Artists sift through historical information with a social, economic, or political content to construct identities and gain understanding while relying on a subjective approach which does not necessarily provide answers; it reveals. It is not concerned with the exact nature of reality or truth but rather with our perception of it. Artists constantly challenge received knowledge with alternative histories based on personal memory and experience. Artists make choices not according to a certain methodology or by intuition, but following a path with its own inner logic. The next picture has to add to the context of the whole. It is not a random process, it is a guided one that ultimately tries and creates a level of recognition. If partial knowledge accepts that we need to solve a problem on the basis of facts that are not entirely complete, then selective knowledge talks about the conscious choice to reject, select, and accept on the basis of need, desire, and expectation, until a story unfolds. Rather than starting from large systems and accepted truths from which political, economic, and social developments are analyzed, the artists in the exhibition adapt the synthesizing character of the curiosity cabinet. Many bits and pieces allow for associations and interpretations. The extent to which the academic world, more and more intent on drawing in the arts institutions, can respond to this changing and often conflicting approach to knowledge is part of the broader debate around the present state of education.

A Disturbance of MemoryVolume IIFrom the series Freud on HolidaySharon Kivland
Sharon Kivland is an artist and writer. For several years she followed "Dora", Freud's young hysteric, also passsing through the arcades and department stores of Paris (where she encountered Marx, Lacan, and Benjamin, while pursuit of a certain look, a certain object). She continues to return to the sites of her former encounters, while adding new haunts to her repertoire. Her work has mutable forms, and has been exhibited and published widely. Like Sigmund Freud and his brother, Sharon Kivland and her sister go on holiday together each year. In Trieste in 1904 SF and his brother determine to go to Corfu but are told by their host it will be too hot and they should go to Athens instead. Any change of plan seems impractical, but they succeed in booking tickets for Athens. When Freud arrives in Athens and stands on the Acropolis he is surprised to find himself thinking: 'So all this really does exist, just as we learnt at school!' His surprise is twofold; first, that something unbelievable exists, and secondly, that its existence should have been in doubt In A Disturbance of Memory, Sharon Kivland and her sister, accompanied also by Kivland's son, follow the Freud brothers to Trieste and Athens, but are frequently diverted by other traces, including those of James Joyce, Jacques Derrida, Italo Svevo, and Ulysses.

There are photographs and drawings of uncertain origin, and descriptions of food, trains, and family romances. The English text is followed by a Greek translation.

Paintings 2001-2007Makis Theofylaktopoulos
Exhibition catalogue published on the occasion of Makis Theofylaktopoulos exhibition at Ileana Tounta Contemporary Art Center in November 2007. It includes photographs of artist's paintings and an introduction text by Julia Tsiakiris.

A Catalogue wrapped into a poster work. Design by Christos Lialios in an edition of 600 copies.
Billingual edition (english/greek).

Sold out!!!

Opening HoursRebecca Camhi GalleryRebecca Camhi chose Metaxourgeio, a neighbor-hood that is only seemingly more downgraded that others, an area destined for that type of exhibition called Opening Hours. It is a show I had conceived of, in 2002 which was repeated the next two years with the same formula in Prato, an industrial city in Tuscany. Its title was Spread in Prato. The exhibition was realized by Dryphoto, Prato's artistic organization that works with photography since 1977, and included the entire city and in some cases it surpassed its own boundaries.
For Athens, a city incomparably bigger, a neigh-bourhood was chosen and every exhibition space is easily accessibly by foot. Spaces that are mainly promote consumption, like showrooms, shops, restaurants or bars, in contrast to the ones in Prato that are used for production such as factories, offices, small workshops. As far as Metaxourgeio is concerned, after Rebecca Camhi's clear request, the spaces that were chosen are free to all visitors depending on their opening hours –hence its title– like parking lots, bus stops, cafés, restaurants, shops, dry cleaners and hotels. The main goal is similar, to take art out of the "sacred" spaces taht are specifically designed for it and into the living spaces. Pier Luigi Tazzi

TaipUn/Titled Settings
Publication series with studies on paper. The title is taken from the phonetic form of the word 'type'. Each publication explores a different letter from the Latin alphabet in random way. The seventh publication in an edition of 30 copies.

Athens, 2007.

Her(his)toryMarina FokidisHer(his)tory addresses the major issues faced by society in the contemporary world. It will comprise of artworks which comment - with a poetic and in cases humoristic view - on questions such as the profile of contemporary woman and man, and on the vast geopolitical contemporary arena today. The idea is to present works that will intrigue the interest around human culture and will promote the diversity found in the synthesis of various personal stories, the intersection of 'private' and 'public', and the comprehension of the 'historical truth' through everyday life experiences.

The idea of the invitation cards is based on the location of Hedah, Brusselsestraat. I asked from several local artists and designers to take a picture of this road, in order to communicate the place and the time. Hedah Maastricht, Centre of Contemporary Art started in Octobre 1995. It's been a platform for contemporary, international developments in the fields of visual and related arts ever since in Maastricht. It offers recent devolopments in art to the public, but also creates opportunities in Maastricht by ways of providing inspiring work- and exhibitionspaces to artists.

For the current program please, visit their website www.hedah.nl
Athens and Maastricht, 2007.

Local IdentitiesSpot #2Stefanos Tsivopoulos
A magazine based on the idea of binding together contemporary art projects coming from around Europe and the South Eastern Mediterranean in the format of a periodical publication. For each issue, the publication invites a range of cultural producers and art professionals from these areas to write about their projects and activities as well as about their visions, their source of inspirations, models, successes and difficulties. Through the choice of this specific lens, Spot wants to understand what is produced, thought, and done in contemporary art and cultural production in different areas of Europe, avoiding the conventional writing in terms of centers and peripheries, in and out, global identity and multiculturalism.

Made After StoryChristos Lialios
Project for the exhibition Dialogoi VI-Dokimes IV curated by Ghislaine Dantan held at Amore Theatre from 04.05.2007 - 30.05.2007.

Made after story is a process and a moment, an ensemble and a fragment, a short and endless narrative. It's a silkscreen poster which becomes an environment through its repetitive use; the ensemble serves as a patterned background for a found photograph of a disguised little girl. With layers of lines and graphic motifs, Christos Lialios combines an austere approach with handmade details and childlike spontaneity; the reduced range of colors echoes the poetic quality of the print. It is on display as a take-away stack, at the disposal of the audience. Ephemeral, it still exists beyond the exhibition context and each visitor can then activate his own transitory space, his on- going narrative. While the reduced range of colors echoes its dream-like character. –Ghislaine Dantan

My NotebookChristos Lialios
A soft bound notebook made by scanning different formats of other selected notebooks. Size 11x16,2 cm, (pocket-size) 100 pages with silk screened cover. Published by Hartovasilion in an edition of 600 copies.

Out of order!!!

Athens, 2007.

Suggestions for the Destruction of Athens – A Handbook1st Athens Biennale 2007Destroy Athens
The curators of Destroy Athens note in the introduction: "As the first step in curating the 1st Athens Biennale Exhibition, Destroy Athens, this appropriation of excerpts is intended to form an open narrative. At the same time, it is a conceptual toolbox; a treasure hive; or a book of spells. It is to be read as a series of suggestions that imply different – even contradictory – possibilities at every turn, and that embrace – even reluctantly – the difficulty one might face when attempting to support or further alternatives".

The first companion publication for the 1st Athens Biennale 2007 Destroy Athens, titled Suggestions for the Destruction of Athens – A Handbook, is a conceptual guide for the process leading up to the Destroy Athens exhibition, in September 2007.

Ohne Titel 1916Flim
A new release from Flim aka Enrico Wuttke! The title of the album, "Ohne Titel 1916", has been borrowed from a work by Paul Klee, from a series of about 50 hand puppets the artist created for his little son Felix between 1916 and 1925. Only one puppet was made during 1916, the one representin "Mr. Death" to which the title refers. The design on the cover of the album shows the hand inside the puppet.

Ohne Titel, 1916' is a emotional collection of fragile melodic patterns, played out on basic piano and keyboard with some very slight electronic treatment, there's a real feeling of honest depth and great sorrow. Written after the death of his day old daughter Fanny, it puts across the feeling of emotional numbness and learning to coping with the passing of a loved one. It's certainly not all morbid or sorrowful, the tracks often capture fondness and wonder of life it's self and of the need and effort to move on. I can't quite put my finger on how he's done it, but flim really seems to have weaved so much depth and power of emotion into each of these delicate sounds works. Leaving the listener captured like a rabbit in headlights, for most of the albums running time. It also feels like if you listen to hard, the tracks may full apart and turn to dust, or loose all it's petals like a once achingly beautiful flower. I guess you'd call it ambient/ modern classical, but genre labelling seems simply pointless and Irrelevant here.Don't think too much or analyse, what's going on here -just let it drift into you. A Truly impressive and captivating album, which I find myself wanting to return to again and again. It both seems to take you out of your self, but often looks deep inside ones soul as well. Sadly this is only ltd to 500 copies, which seems a crime for such a work, that should be heard by as many people as possible. – Roger Batty from Musique Machine

In Vlahos' work, all those layers of meaning are evoked, but not successively as in a text, but simultaneously, in paralysed anticipation of the flash of the blast. It is a sudden shock, which freezes time, and thus also elucidates the other materials compiled within the work, such as archival materials and pictures. The work expresses this unique historical moment in a peculiar way not, as Walter Benjamin once wrote  focussed on the way things really were, but presented through the lens of a specific moment of danger. For Benjamin, grasping a memory which flashes up in a moment of danger means to actualise this memory in the present instead of using the usual taxidermic and historicist approach towards things past. It means to expose its contemporary importance instead of the dead weight of a hegemonic construction of history.

The publication contains photographs of instalations and essays about the work by Magali Arriola, Hito Steyerl and Despina Zefkili.

They couldn't be more different. The bus driver is an extrovert who loves food, dance, friends. The school teacher is an introvert who has trouble expressing an opinion on any subject. Yet somehow the spirit of Christmas works its gentle magic.

Aristophanes' FrogsMary Bremer-Beer
Poster about the play of the Frogs by Aristophanes, a comedy, produced 405 BC, following directly the deaths of Euripides and Sophocles in 406 BC.

The play of "The Frogs" turns upon the decline of tragic art. Euripides was dead; so were Sophocles and Agathon; there remained none but second-rate tragedians. Dionysus misses Euripides, and wishes to bring him back from Hades, the infernal world. In this he imitates Hercules, but though equipped with the lion-hide and club of the hero, he is very unlike him in character, and as a dastardl voluptuary, gives rise to much laughter. Here we may see the boldness of the comedian in the right point of view; he does not scruple to attack the guardian god of his own art, in honor of whom the play was exhibited, for it was the common belief that the gods understood fun as well, if not better, than men. Dionysus rows himself over the Acherusian lake, where the frogs pleasantly greet him with their croaking. The proper chorus, however, consists of the shades of the initiated in the Eleusinian mysteries, and odes of wonderful beauty are assigned to them. Aeschylus had at first assumed the tragic throne in the lower world, but now Euripides is for thrusting him off. Pluto proposes that Dionysus should decide this great contest; the two poets, the sublimely wrathful Aeschylus, the subtle, vain Euripides stand opposite each other and submit specimens of their art; they sing, they declaim against each other, and all their failings are characterized in masterly style. At last a balance is brought, on which each lays a verse; but let Euripides take what pains he will to produce his most ponderous lines, a verse of Aeschylus instantly jerks up the scale of his antagonist Finally he grows weary of the contest, and tells Euripides he may mount into the balance himself with all his works, his wife, children and servant, Cephisophon, and he will lay against them only two verses. Dionysus, in the meantime, has come over to the cause of Aeschylus, and though he had sworn to Euripides that he would take him back with him from the lower world, he dispatches him with an allusion to his own verse from the Hippolytus. Aeschylus, therefore, returns to the living world and resigns the tragic throne to Sophocles during his absence.

Directed by Mary Bremer-Beer in collaboration with the Classic Theatre Company of the University of Detroit Mery.
Athens, 2006.

Local IdentitiesSpot #1Stefanos Tsivopoulos
Spot is based on the concept of binding together art projects coming from around Europe and the South Eastern Mediterranean. The aim is to provide a platform for cultural dialogue, expression of visions, and research concerned with issues around the folklore and the multicultural, the central and the peripheral, the political and the poetical. It's a non-commercial publication distributed in Museums, Art Centres and Cultural Organisations around Europe.

Edit by Stefanos Tsivopoulos. Design by Christos Lialios. The publication includes four projects based in the concept of local identities. These are 'MUMOK House', 'Downtown Gallery', 'Going Public' and 'Leaps of Faith'. Each project comes as an individual book of 16 pages. Contributors: Clare Davies, Plamen Dejanof, Antonia Majaca, Roula Palanta, William Wells and Rana Zincir.

Pola MusicFlimPola Music is a beautiful work produced by the artist and composer Enrico Wuttke aka Flim. It is made up of field recordings, improvisations, and short musical pieces that the artist collected around Germany. The project has been printed out, using one color for two folded sheets that are constructed as an envelop, implying a variety of techniques including rough printing, test printing, and wrong-bad printing. As a result, each portfolio shows a different back side.

Publication series with studies on paper. The title is taken from the phonetic form of the word 'type'. Each publication explores a different letter from the Latin alphabet in random way.

Athens, October 2005.

BloomSeries of t-shirt
Four t-shirts, four colors, four drawings. Short sleeves, round neck. S-M-L in an edition of 30 printed at the studio of the artist Pantelis Pantelopoulos.

Out of order!

Athens, 2005.

TaipPrimitive Settings
Publication series with studies on paper. The title is taken from the phonetic form of the word 'type'. Each publication explores a different letter from the Latin alphabet in random way.

The sixth publication of the 'taip' series. Edition of 50 copies.

Primitive settings is a primitive archive in the form of exercises. A personal world of visible and non visible images, of never completed drawings, of messages that failed to communicate. Primitive margins. The publication has been sealed by a sewing machine.

Artime #01
An art magazine and guide to the arts which provides information and an appraisal of artistic events in Greece and abroad, particularly in the region of the eastern Mediterranean. It is published fou times a year.

TaipLonely Settings By Lovely Lines
Publication series with studies on paper. The title is taken from the phonetic form of the word 'type'. Each publication explores a different letter from the Latin alphabet in random way.

The fifth publication of the 'taip' series is a study regarding the character space between lonely and lovely. This publication tried to combine the drawing, the draftsman and the photographic process in order to characterize a two dimensions medium. This is why I used graphite pencils, markers, crayons, color pencils... More poetically, the title could be changed to: Loneliness through the hypocrisy of a draftsman.

Humanitarian HelpDrog A TekSplendid Sound Recordings for Rainy Evenings Next to the Rivedid04
Sound project which started with the support of the Jan Van Eyck Academie (post academic institute for fine art, design and theory). It has now becomes an independent self-sustained project which is comprised of sound and graphic art that seeks to address the significance of innovation in something modern while maintaining explicit roots in diachronic pop culture. It is one of those moments of aesthetic expression not frequently encountered that emerges from the collaboration of artists from a variety of backgrounds, ethnic origins and personal approaches and styles.

Drog A Tek is a music collectiva communicating through live performance, improvisation using analogue and digital instruments, field recordings, and experimental recordings in real time. This piece of work has been made possible by Drog A Tek and Christos Lialios.

Following the PathVasilis TsonoglouSplendid Sound Recordings for Rainy Evenings Next to the Rivedid03
Sound project which started with the support of the Jan Van Eyck Academie (post academic institute for fine art, design and theory). It has now becomes an independent self-sustained project which is comprised of sound and graphic art that seeks to address the significance of innovation in something modern while maintaining explicit roots in diachronic pop culture. It is one of those moments of aesthetic expression not frequently encountered that emerges from the collaboration of artists from a variety of backgrounds, ethnic origins and personal approaches and styles.

Vasilis Tsonoglou is a composer who writes music for theatrical performances as well working as a sound producer. "Following the Path" was recorded in 2002 at his small studio apartment in Athens, during cold and raining winter nights.

Something Left to PrintChristos Lialios
Project made for an exhibition during the two years of studies and research at the Jan Van Eyck Academie. Poster and an animated video to express the coming years after the two years of work in the academy.

Maastricht, 2002.

Splendid Sound Recordings for Rainy Evenings Next to the RiverSplendid did ddid02
Sound project which started with the support of the Jan Van Eyck Academie (post academic institute for fine art, design and theory). It has now becomes an independent self-sustained project which is comprised of sound and graphic art that seeks to address the significance of innovation in something modern while maintaining explicit roots in diachronic pop culture. It is one of those moments of aesthetic expression not frequently encountered that emerges from the collaboration of artists from a variety of backgrounds, ethnic origins and personal approaches and styles.

Red t-shirt. S/M/L/XL in an edition of 60.

Out of print!

TaipJ Settings on the Road
Publication series with studies on paper. The title is taken from the phonetic form of the word 'type'. Each publication explores a different letter from the Latin alphabet in random way.

"J" for Jack Kerouaq. "J" in the Dutch alphabet for the first letter of Jan van Eyck’s academy name. A road journey, also a journey of images, recorded in the first version, made just before it was recycled, of the Jan van Eyck Academy stationery. The packaging is seald. If you change the page sequence interpreting my journey, you get a new sequence, a new series depicting a different journey. From an aesthetic point of view, it is the reader’s journey.

The fourth publication of the 'taip' series is limited to 70 copies.

For further information on orderin the publications please contact via info(at)studiolialiosvazoura(dot)com

Maastricht, 2002.

Charles Nypels LecturesJan van Eyck Academie
Poster and flyer inspired by the new policy of the Charles Nypels foundation. The idea is based on the process of rewriting the name by tracing magnetic letters. Lectures on the topic of contemporary research challenges into the expanded field of design by Gillian Crampton Smith, Paul Elliman, Jouke Kleerebezem, Filiep Tacq, Wouter Vanstiphout and Annelys de Vet.

Edition of 250 folded copies.
Photo by Florencia Reina.

Maastricht, 2002.

The Sound of Young Helmshore (Parts 1-3)SeptemberistSplendid Sound Recordings for Rainy Evenings Next to the Riverdid01
Sound project which started with the support of the Jan Van Eyck Academie (post academic institute for fine art, design and theory). It has now becomes an independent self-sustained project which is comprised of sound and graphic art that seeks to address the significance of innovation in something modern while maintaining explicit roots in diachronic pop culture. It is one of those moments of aesthetic expression not frequently encountered that emerges from the collaboration of artists from a variety of backgrounds, ethnic origins and personal approaches and styles.

Septemberist is Andrew Johnson from The Remote Viewer and Hood. This is his own sound performance in a very melancholic electronic mood.

Track list: Part 1 / Part 2 / Part 3

The vinyl is housed in a printed jacket that's been inserted into a poster folded to 7" size. Edition of 323.

Manchester, Maastricht, 2002.
Out of print!

TaipRandom Raster Forms Setting R
Publication series with studies on paper. The title is taken from the phonetic form of the word 'type'. Each publication explores a different letter from the Latin alphabet in random way.

The third publication of the 'taip' series in an edition of 85.

"Flat" concept using rasterized forms and playing with the distance. A research on graphic design about the relationship between performance and monement. An improvisation on a photocopying machine.

For further information on ordering the publications please contact via info(at)studiolialiosvazoura(dot)com
Maastricht, 2002.

An Open BookDieter Roth
A selection of Dieter Roth's publications at the library of the Jan Van Eyck Academie. An open event to the public with discussions about the work of the artist and the relationship to graphic art. Introduced by Karel Martens.

abcd...
The first one was printed first on silkscreen, and then a photo was taken of the printing process, which then becomes the poster.
Edition of 30.

Hey Mr. Postman Are There Any Letters For Me Today?>
The second one came after I got some kind of typographic sickness that resulted in a brief non-productive period. Thinking and playing towards the next project.
Edition of 30.

Maastricht, 2002.

This Afternoon, Life Drawing ClassesM/M (Paris) Lecture
Poster design for the lecture of M/M (Paris) given at the Jan Van Eyck Academie. This lecture was a part of a series lecture entitled This Afternoon, Life Drawing Classes, project that took place at the Jan van Eyck Academie.

TaipDa Ta Da of Setting D
Publication series with studies on paper. The title is taken from the phonetic form of the word 'type'. Each publication explores a different letter from the Latin alphabet in random way.

The second publication of the 'taip' series is a diary processed through building data. Another publication with mandatory reader-participation. As you can see from the title, this is data. Data is the plural of datum, meaning "something given". It is the information the reader is supposed to give when answering questions. These questions are simple but, on a personal level, they become difficult answers by using the nice-sounding interrogative prefix "do". Da ta da of setting d is a kind of phonetic poetry, where voice is replaced by thought, however. It is a game of questions and a collection of answers that are used to bring into the world a moment from the reciever's psyche. This second edition is limited to 85 copies.

For further information on ordering the publications please contact via info(at)studiolialiosvazoura(dot)com

Maastricht, 2002.

This Afternoon, Life Drawing ClassesNick Bell's Lecture
Poster designed for Nick Bell's lecture given at the Jan Van Eyck Academie. Printed by Frans Vos. Edition of 20 copies (out of order). This lecture was a part of a series lecture entitled This Afternoon, Life Drawing Classes, project that took place at the Jan van Eyck Academie in collaboration with Manuel Raeder.

Workshop on Looping. A Book for ChildrenMontessorischool Binnenstad Maastrich
This workshop on Looping. A Book for Children was held over a ten days period. It took place at the Montessorischool of Maastricht with a class of thirty children of five, six, and seven years old and they spent an hour every day colouring the books. No instructions were given. It has been made possible through the support of Frédérique Bergholtz, curator of Marres Centrum Beeldende Kunst, Mariet Collet, teacher and Christos Lialios. Montessorischool, Binnenstad, Maastricht.

This is the first workshop on this experimental research project about children's books.
The workshop and the book has been presented at Marres Centrum Beeldende Kunst. Introduction performed by Steven Rushton.

Looping. A Book for ChildrenChristos Lialios
A coloring book for children that looks like a sketch pad, with meaningless drawings based on loops. It contains 48 pages with all sorts of variants of drawn spirals, circles, and doodles that flow naturally from the movements of the hands.

Printed by Rosbeek bv on Munken Lynx 100g paper and bound by Mathieu Geertsen in an edition of 270 copies.
A copy can be ordered via info(at)studiolialiosvazoura(dot)com

Jan van Eyck Academie. Annual Report 2001Jan van Eyck Academie
A 'typewritten' annual report based on the old typographic systems of the type-writer machines. The content is a very typical annual report except the activities section that images presents the unofficial activities like drawings on the wall next to the telephone or scratching a door in the toilet. Printed in two colours (black for Dutch and purple for English) by Rosbeek bv, on "wit Repro Bank" 60g paper, Buhrmann Ubbens. Binding by Mathieu Geertsen, in an edition of 500.

This annual report has been awarded a prize for Best Designed Annual Reports, organized by the Graphics Culture Foundation, with the Gerrit Jan Thiemefonds and Uitgeverij Compres cooperating and with the support of the Royal KVGO and Océ-Nederland.

This Afternoon, Life Drawing ClassesKarel Martens' Lecture
Poster design for the lecture of Karel Martens given at the Jan Van Eyck Academie based on the typeface We Could Send Letters To Each Other Everyday. This lecture was a part of a series lecture entitled This Afternoon, Life Drawing Classes, project that took place at the Jan van Eyck Academie in collaboration with Manuel Raeder. It was given on 14.2.2002 following the work of Karel Martens and debates on graphic design.

TaipAnanarchistypofighter Setting A
Publication series with studies on paper. The title is taken from the phonetic form of the word 'type'. Each publication explores a different letter from the Latin alphabet in random way.

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The first one begins with the first letter of the alphabet ‘A’. A designer’s research on the first letter of the alphabet, which is also the letter symbolizing anarchy. Only in this case the anarchy is more romantic than political. A series of exercises offering solutions to the form of a letter by proposing a new symbol of anarchy. A without the circle. In other words, taking out of anarchy the French word “ordre”.

It has been launched at the space gallery of the Jan Van Eyck Akademie.